091511

15 Sep

 Lord’s Jester Inc. will have a booth at Fashion Week Tampa Bay, which takes place at Innisbrook Golf & Spa Resort at Inverness Hall, 36750 U.S. Highway 19 North, Palm Harbor, FL; my booth will be featured on the 23rd of this month, starting at 6pm (there will be a fashion runway show at about 8:30 following the boutique buying leg of the evening). This will be my first ever exposure in the Tampa-Bay area as a certified Professional Perfumer; the idea that I get to have my own booth, with all my perfumes, cotton balls for sampling, the ability to give away and/or sell samples, sell whole bottles of perfume to people who like what they smell, hand out flyers about the business, etc., makes me very excited.
 In the last installment, I wrote that Hemera is based, in part, on “New Caledonian sandalwood;” in truth, I could care less about the place of its origin. What I care about is to get a really good aromatic that suppliers like White Lotus Aromatics or Essential Oil University won’t sell out of. When I first began making professional natural perfume, intending to sell it, it didn’t take me long to figure out how important consistency was/is. The first time I made a perfume with a given ingredient, but from a different supplier, I was literally stunned to discover that changing the source of a single component is enough to ruin or change a given composition radically. I don’t care at all about the geographic origin of a given aromatic (I can’t tell the difference between (endangered) Indian sandalwood and Australian); I care about having access permanently to exactly the same aromatic from the same supplier.
 I recently got into trouble because I made a perfume, for a Guild project, which used some rare absolutes; I didn’t know that when I first made the perfume, but suddenly the place where I got the aromatics, White Lotus Aromatics, is completely out of rosa bourbonia, and they only have 6oz of jasmine auriculatum left. Both those are essential to this particular formula; I’m even finding auraucaria, also essential to this particular EDP, is suddenly hard to find. The world, as my friend and #1 fan, John Reasinger, needs much more than three cups of this perfume; I am able to make a max of two more cups, with the materials I have now.
 I spoke too soon about Chronos: it’s not in fact perfected yet. All along I intended this cologne to be an homage to Annick Goutal’s Sables–it is quite far from being of the same caliber as Sables (Sables is synthetic, so my idea is not to make an imitation, but something inspired by Sables, even better _because_ it’s natural). This is the first time I find that when I go back to the drawing board on this particular formula, I feel I should aim to make something full strength, then work back to eau de toilettes and eau de colognes from there. A perfumer cannot afford too many perfumes–it’s getting harder and harder to keep track of them all, let alone keeping track of _materials_ for each perfume, and making sure I can afford the money for each given aromatic. I dream of creating a relatively massive body of perfume work, so I need to start picking and choosing what’s my best work as of yet, and choose very carefully going forward.

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2 Responses to “091511”

  1. Debbie Gorham September 16, 2011 at 1:32 am #

    I appreciate your posts because I like perfume and because I am considering studying to become a natural perfumer. I looked at Mandy Aftel’s site. $375 for step one. I’m letting that sink in. I’m looking at our house wondering where I’d keep all the “things.”

    I completely appreciate the importance of consistent ingredients. I make several lines of lavender products using our estate grown and distilled lavender. The ingredients are important, that’s for sure. Good for you to punctuate that point.

    Good luck to you in Tampa. Above all, have fun with it. I know you will.

    Debbie Gorham

    • Adam Gottschalk September 16, 2011 at 2:36 am #

      I totally had no idea what I was doing when I first got into natural perfume. One thing has always come in handy: my perfumer’s organ. I’ve had two, one built by a carpenter friend in Portland, and a bigger one built by my father a couple of years ago. He also built me a couple of small ones; now he’s building one to larger bottles and jars. Also, one important thing I learned about bottles and caps is this: a bottle is totally useless without the right cap. The first thing I do when I get bottles and caps is put the _caps_ in a safe, easy-to-access place.

      Thanks for the feedback. Glad to know I’m not writing in a vacuum, but I also appreciate your sincerity.

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